Lepic, account

 

 

Impressionism, a historical reconstruction:

Ludovic-Napoléon Lepic

(1839-1889)

Account

of his exhibited works

 

Introduction:
On this page you will find an extended account of what works Ludovic Lépic did exhibit at the 1st and 2nd ‘impressionist’  expositions in 1874 and 1876. And a less extended account of the works he exhibited at the Salon and it’s successor of the Société des Artistes Français,  at regional exhibitions and at a posthumous auction sale at Hôtel Drouot. For general information on Ludovic Lepic and the used sources, see the main page. See links for the pictures exhibited in 1874, 1876 and at the Salon. See also a topographical and thematical overview of his exhibited pictures.

 

The first ‘impressionist’ exposition 1874:

  • catalogue numbers 74-80
  • in total Ludovic-Napoléon Lepic exhibited 7 works, 4x watercolours and 3x etchings;
    • 3x indication of place
    • 0x indication of time, season or weather
    • 1x a study
    • 0x loans (appartient à…); .
  • See for the suggestions of Adhémar (1974=R87,p240), Moffett (1986=R2,p121), Berson (1996=R90II,p8+23) and Patry/Robbins (2024=R410,p275)
  • I will also refer to the etchings catalogued by Beraldi in 1889 (R85IX)
  • see link for the exhibited pictures.
  • See also a topographical and thematical overview of his exhibited pictures.

Reviews:
Burty (1874/04/25) ‘The more moderate and no less valiant works of Messrs. Colin, Rouart, Boudin, Lépine, Ottin fils or de Nittis, the watercolours of Mr. Lepic, show how much is to be expected from this school.’ (R87,p262)
Lepelletier (1874/04/19) mentions the ‘marines’ made by M. Napoléon Lepic (R90I,p24).
Léon de Lora (1874/04/18) mentions the ‘marines’ made by M. Napoléon Lepic (R90I,p27).
Le Phare de la Loire (1874/04/18) mentioned ‘Jupiter and César, Bulle-terrier and griffon in a garden, are etchings known by the art-lovers.’ (aR17=iR437).
Lepic is also summed up in 5 reviews as one of the partakers by Burty (1874/04/16 + 25), d’Hervilly (1874/04/17), Drumont (1874/04/19) and in La Liberté (1874/04/20).
See the seperate pages on the reviews and on the art-critics.

Catalogue 1874: (R87,p240;R2,p121;R90I,p6;iR1)

1IE-1874-74, L’Arrivée de la marée à Cayeux, aquarelle
Eng.: The coming of the tide at Cayeux, watercolour. The first edition of the catalogue rendered as asking price 200fr (R411).
Adhémar, nor Moffett, nor Berson give a suggestion. Berson refers to reviews of Lepelletier and de Lora, who just refer to marines (R90II,p8).
To compare I render a compilation of two watercolours, both being uncertain options.
The first depicts the beach of Cayeux and was made in 1873; the tide is unclear, but could well be upcoming; all this makes it a good suggestion, but the emphasis is on the (sail)boats, not on the tide:
1873, SDbr, Plage Cayeux, aquarelle, 21×48, private (R276,p104)
The second could well depict an upcoming tide; anyway the emphasis is on the water; but the location is unknown:
1874, SDbr, Bord de mer, wc, 27×37, A2024/02/02 (iR11)
A more uncertain option could be:
1871, SDbr, Sur la plage après la tempête (Bords de mer, plage à marée basse), wc gouache, 28×39, A2019/03/27 (iR17;iR13;R2,p162)
This watercolour shows a low tide, but could well depict an upcoming tide; anyway the emphasis is on the water; but the location is unknown and the emphasis in the title is on the things left behind after a storm.

1IE-1874-75, La pêche, étude en pleine mer, aquarelle
Eng.: The fishing, study in the open sea, watercolour. The first edition of the catalogue rendered as asking price 200fr (R411).
Adhémar, nor Moffett, nor Berson give a suggestion. Berson refers to reviews of Lepelletier and de Lora (R90II,p8), who just mention ‘marines’.
As a very uncertain suggestion I render a work that is probably a watercolour:
18??, Sbl, Fishing boats returning under a late afternoon light, aquarelle?, ?cm, unknown location (iR94;R2,p121;R90II,p8)
To compare I also render a watercolour that depicts fishing boats, but near the coast:
1873, SDbr, Plage Cayeux, aquarelle, 21×48, private (R276,p104)
I render both works in a compilation.

1IE-1874-76, Golfe de Naples, aquarelle
Adhémar, nor Moffett, nor Berson give a suggestion. The first edition of the catalogue rendered as asking price 200fr (R411).
Berson refers to reviews of Lepelletier and de Lora (R90II,p8).
Maybe the same as: S1875-2498, Le golfe de Naples, vu du cours Victor-Emmanuel; aquarelle; which would implicate a high viewpoint.
To compare I render an oil painting with a similar view: 1862, La baie de Naples par temps clair, 94×128, A1997/12/05 (iR13;R2,p121;R90II,p8;iR1).
To compare I also render a watercolour of Lepic with a horizontal view on the Gulf of Naples:
1871, SDbr, Torre del Greco (The bay of Naples), aquarelle, 27×37, unknown location (R276)
Compare also: 2IE-1876-125, Le quai Sancte Lucia à Naples (aquarelle).

1IE-1874-77, Le départ pour la pêche du hareng, aquarelle
Eng.: Leaving for the herring fishery, watercolour. The first edition of the catalogue rendered as asking price 200fr (R411).
Adhémar, Moffett and Berson refer to a later oil painting probably related to this watercolour exhibited under number 77:
1878-79ca, Sbr, Le départ pour la pêche à Berck (Marée haute), oil, ?cm, Md Valenciennes (iR2;R87,p239;R2,p121;R90II,p8;M201); this work was exhibited in Berck in 2013.
I will render this painting in a compilation with a watercolour depicting fishing boats (near the beach of Cayeux): 1873, Plage Cayeux, aquarelle, 21×48, private (R276,p104)
Compare also: S1879-1898, La pêche au hareng d’Ecosse par les bateaux de Berck.

1IE-1874-78, L’Escalier du château d’Aix en Savoie, eau-forte
Eng.: The Staircase of the Castle of Aix en Savoie, etching. The first edition of the catalogue rendered as asking price 90fr (R411).
Moffett refers to the Cabinet des Estampes. Berson is more precise: 1863, SDbr, L’escalier au moine (The staircase of the castle of Aix en Savoie), etch, 41×38, BNF Paris (R276;R90II,p23+8;R2,p121;iR26)
Patry/Robbins doesn’t reproduce it, but suggest: 1863, Château d’Aix, Savoie, etch, 47×42, Baltimore MA (R410,p275); I assume it is the same image.
Compare Beraldi ‘intérieur de château’ (R85IX,p143,no3-6).

1IE-1874-79, César, portrait de chien, eau-forte
Eng.: César, portrait of a dog, etch. The first edition of the catalogue rendered as asking price 90fr (R411).
Adhémar, Moffett, Berson and Patry/Robbins refer to a work in the Cabinet des Estampes: 1861, SDbr, B1-5b, César (le chien à la cravache), etch, 32×24, BNF Paris (HW;iR313;iR35;iR6;iR40;iR1;R90II,p8+23;R87,p240;R410,no.89;aR3,p89;R85IX,p143,no1-5b). It is an etch made after a work of Jadin. Lepic renders the sub-title ‘le chien à la cravache’ (the dog with the whip) and calls it his first serious work (aR3,p89).
Also an option for: S1864-2936, Etude de chien, d’après M. Jadin; eau-forte.

1IE-1874-80, Jupiter, portrait de chien, eau-forte
Eng.: Jupiter, portrait of a dog, etch. The first edition of the catalogue rendered as asking price 90fr (R411).
Adhémar, Moffett, Berson and Patry/Robbins refer to a work in the Cabinet des Estampes: 1861, SDbl, B1-5c, Jupiter (after Jadin), etch, 32×24, ENSBA Paris (HW;iR127;R90II,p23+8;R87,p240;R410,no88;R85IX,p143,no1-5c;M5). It is an etch made after a work of Jadin.
Also an option for: S1864-2936, Etude de chien, d’après M. Jadin; eau-forte.

 

The second ‘impressionist’ exposition 1876:

  • catalogue numbers 102-137 =36
  • no. 124 contained of 5 watercolours: 36+4=40;
    no. 126 and 127 of two watercolours: 40+2=42;
    no. 135 contained of 2 frames with etchings, so at least of 4 etchings and I assume 8 etchings: 42+7=49
  • in total  Lepic exhibited about 49 works, of which 22 oil paintings, 16 watercolours, at least 7 etchings and assumably 11 etchings
    • 25x indication of place: Berck (no. 105+106+112), Bay of the Somme (+Houdel) (107+113+127+109), Manche (114+115), Cayeux and surroundings (109+123+130), Napels (125+131+132), Holland (135+136)
    • 7x indication of time, season or weather: moonlight (no.102+114+136); mist (103); sun (115+129); night (116)
    • 4x a study
    • 1 loan (appartient à…): no. 134 M. Arsène Houssaye
    • 11 pictures depict (indirectly) a beach: no. (104 +)105 + 106 (+ 108) + 109 + 112 + 116 (+120) + 122 (+ 127 (2x)
      9 or 10 pictures depict boats: no. 104 + 107 + 108? + 110 + 112 + 117 + 119 + + 127 (=x2) +131
  • Moffett only gives a suggestion for no.134 (R2,p162), Berson also for no.136+137 (R90II,p56+39/40).
  • I will also refer to the etchings catalogued by Beraldi in 1889 (R85IX)
  • see link for the exhibited pictures.
  • See also a topographical and thematical overview of his exhibited pictures.

Reviews:
L’audience (1876/04/09) reviewed ‘M. Lepic presents a numerous collection of marine paintings, watercolours and etchings; this artist wanted to prove the flexibility of his talent and he did it in such a way as to conciliate the esteem of the most numerous amateurs, his large canvas: Forcé, deserves a special mention.’ (R90I,p53; Rv34)
Arthur Baignères (1876/04/13; Rv41) reviewed: ‘Lepic* who renounced the official Salon, without doubt because he could exhibit 30 works at this exposition.’ (R90I,p54;R2,p182)
Charles Bigot (1876/04/08; Rv32) shortly mentions Lepic (R90I,p61)
Emile Blémont (1876/04/09) reviewed ‘In the first room one first encounters… Mr. Lepic also has beautiful etchings, one of them depicts with originality the Ballade des pendus by Théodore de Banville; he also exhibits watercolours showing various aspects of Pompeii, remarkable seascapes and a large “Sanglier forcé par un temps de neige” (=Wild boar forces in snowy weather) (R90I,p63; =Rv35).
Note: Blémont sums up etchings, watercolouors and several paintings. He then continues with the watercolours of Millet in room 1. Thus, he suggests all these works hung in room 1.
Bertall (1876/04/15) reviewed ‘Lepic shows a serie of small conscientious canvasses.’ (R90I,p58; =Rv42).
Simon Boubée (1876/04/05; Rv29) reviewed ‘M. Lepic is also a moderate in the impressionist opposition. He also exhibits a number of truly remarkable paintings. His seascapes are of a beautiful sentiment, and his Wild Boar seems to us a work recommendable in all respects.’ (R90I,p64).
Ph. Burty (1876/04/15; Rv43) reviewed in the Academy (London) ‘In the next (second) room… sea-pieces** by Lepic* come next;’ (R90I,p64-66;R2,p153-155)
Earlier Burty had reviewed ‘In the large gallery marines** by Lepic’ (R90I,p105-106;R2,p153 =Rv16**).
Louis Enault (1876/04/10; Rv36) reviewed ‘On this list of intransigents, who will not, I imagine, submit their works to the jury that now operates at the Champs-Elysées, I find the name of an artist they have no right to claim as one of their own. M. le Comte Lepic can be a searching and daring painter; but he is not an intransigent; He has traditions that he does not deny, and for a long time he has appeared in our regular exhibitions with undeniable honour. His large study of wild boar is of rare vigour. Forced into his hole and ready to make a stand, the old loner is superb in his daring, courage and resolution. I feel sorry for the first bloodhounds who will try to cuff him. This one is really an intransigent, but not the artist who painted it. Oudry and Desportes would accept him as their successor. The laborious researcher has given no less than 35 pieces to the exhibition in the rue Lepelletier: paintings, watercolours, engravings, nothing is missing; – neither the variety nor the choice! One will notice especially the restorations of Pompeï, of a serious interest.’ (R90I,p83)
E.F. (=Ernest Fillonneau) (1876/04/21; Rv47) reviewed in the ‘Moniteur des arts’: ‘Count Lepic’s exhibition is very varied and interesting. His wild boar forces in the snow, his luminous and clear seascapes, his picturesque and heartfelt watercolours, his etchings of such rare power, everything calls for and holds the attention. The beaches of the Channel, the ruins of Pompeii, the cliffs of Le Tréport and the mysterious landscapes of Holland have never had a more moving and intelligent interpreter than M. Lepic. (R90I,p84).
The anomynous review 1876/04/03 in La Liberté (Rv23**) He assumes that Lepic is the organiser of this exposition, showing marines** in the large room. (R90I,p90)
Louis Leroy (1876/04/15) reviewed in Le journal amusant ‘There are some reasonable artists: (…) Lepic also stands out, with his logical canvasses.’ (R90I,p88 =Rv44).
A. de L. (=Alfred de Lostalot) reviewed 1876/04/01 in La Chronique des arts et de la curiosité ‘In the same bourgeois range one finds honest landscapes of Lepic*, Rouart*, Tillot*, Cals* and Millet*.’ (R90I,p87; =Rv10). 3 days later he added in another review ‘The honest paintings of Bureau*, Lepic*, Desboutin* and Millet* would not frighten even the most timid curator.’ (R90I,p87-88;R2,p156; =Rv26)
G. d’Olby (1876/04/10; Rv38) reviewed ‘Thus M. Lepic exhibits, for his part, an important batch of paintings and studies, which would be accepted everywhere, even at the official Exhibition, as serious works worthy of attention. Le Grand Sanglier forcé dans sa bauge (=The Great Boar forced into its crib) is painted in the most picturesque conditions. A member of the Institute would not find anything wrong with it, except that the drawing is perhaps a little too affirmative. Next to this painting of great decorative effect, M. Lepic has studies of the beach and the open sea, at different times of the day, of a very accurate feeling and of a truly salty taste. The effet de brouillard en mer gives an illusion; the sky and the water merge, without being confused, in a milky tone of a very fine harmony.’ (R90I,p99).
Un Passant 1876/04/02 in Le Rappel mentions ’the ingenious and striking submissions of Degas, Renoir, Legros, J.-B. Millet, Monet, Rouard (sic), Pissaro (sic), Ottin, Desboutins (sic), Caillebot (sic), Tillot, Lepic, Sisley, Cals, Beliard and the charming scenes of Mlle Berthe Morizot (sic),’ (Rv19; R90I,p101*)
Le Petit Journal (1876/04/01) reviewed ‘Lepic** seems one of the organisers… showing a number of paintings, is one of those who has the least bias towards brutality.’ (Rv12; R90I,p101*)
Le Petit Moniteur universel (1876/04/01; Rv14) reviewed ‘There are works are not without merit of Lepic*, Rouart* and Sisley*.’ (R90I,p101-102*)
Emile Porcheron (1876/04/04) reviewed ‘M. Lepic has a whole series of marines which, from the point of view of colour, are not absolutely without merit, but what an arrangement! We have the wave (vague), the buoy (bouée); but the funniest thing is a composition that we will call The Pipe and the Mast (La pipe et le mât): on the left, a corner of the bow of a fishing boat, a pipe on the planking and two or three swallows on the end of the bowsprit, sky and sea in the background; and this is a picture!’ (R90I,p102; Rv28)
Note: Porcheron clearly mentions 3 rooms, the works of Lepic seem part of the first room*. But, he also includes the landscapes of Pissarro, which hung in room 3.
Alex Pothey (1876/03/31) reviewed ‘Every year, Mr. Ludovic Lepic spends five or six months on a laying ship, where he learns about the life of the people at sea. The studies, made on the open sea, which he brings back from these excursions, have a very great character.We mention the Bouée rose, the Effet de soleil, the Beaupré and the Christ sur la plage de Berck. M. Lepic exhibited, in addition, a large hunting painting representing a strong Boar, in snowy weather, which comes to die in an undergrowth.’ (R90I,p104; Rv6)
In his second review Punch remarked ‘No less estonishing is ‘le Falot‘* of Lepic* (no.113??*). This latern (?) looks like preserved fruit…’ (=Rv20; R90I,p105;R2,p158,note24)
The review of Gustave Rivière (1876/04/13; =Rv51) was reprinted in the review of Pierre Dax (1876/05/01): ‘M. Lepic has very beautiful etchings and a remarkable dog’s head by the process he has invented.’ (R90I,p71).
Baron Schop (=Théocore de Banville) reviewed (Rv31***) 1876/04/07 ‘The marines of Lepic* are made of a less overwhelming azure.’ (R90I,p106/7;R2,p491).

Laurent-Pichat reviewed in Le Phare de Loire (1876/06/01): ‘Mr. Lepic, who, I believe, is the same person we discussed in relation to his flooding of the Quai de Bercy, has a bold talent. The fog is accurate. He knows how to be simple. Often there are too many accessories, as in Mr. Desboutin’s work, for example in his painting of the Charpentier. Mr. Lepic is precise even in the details, exhibiting Buoy No. 2, Bay of Somme. One painting by this artist contains an idea, the Beaupré. A mast crosses the canvas. We see part of the ship where fish are drying, suspended. At the end of the mast, we see a piece of canvas, securely attached and violently buffeted by the wind; we sense that the ship is moving. A small branch of greenery, a touch of poetry, near the hanging fish, a pink buoy in the distance, steamboats smoking down there, and on the mast that crosses the canvas, in an unsightly manner, although swallows are perched. The idea is literary. Will these swallows follow the mast? Will they return to land, to the hazy horizon stretching into the distance? Therein lies the mystery; therein lies the emotion; therein lies the idea.’ (iR437;iR170)

Note*: Blémont suggest his etchings, watercolours and paintings hung in room 1 (Rv35), this seems affirmed by Porcheron (Rv28).
Note**: Burty (Rv16 +43) and La Liberté (Rv23) make clear that his marines hung in the large, second room.

 

Catalogue 1876: (R2,p162/3;R90I,p49;iR1)

2IE-1876-102, L’Ile de Vachereu (clair de lune)
Eng.: The Island of Vachereu (moonlight). I couldn’t locate this island. Note: I understand that several islands, namely in the Seine, throughout the years have disappeared. Another possibility is that ‘Vachereu’ is a writting error.
Berson omits this work, which means there were no reviews (R90II,p39).
To compare I render: 1865-70, Sbl, Un grand duc au clair de lune, 163×122, A2025/11/28 (aR15;iR6;R2,p162).
This painting clearly depicts a moonlight. It also seems to depict water with behind it a line of trees, so maybe it represents an island. All this would make it a possible suggestion for no.102. But, what speaks against it, is the prominent presence of the owl.
To compare I also render a painting of another artist: Camille Corot (1796-1875): 1869ca, Le lac, effet de nuit (de lune), 56x82cm, MBA Reims (M190;iR10); it clearly depicts the moonlight; it represents a lake, it could also depict part of an island.
Both works I render in a compilation.

2IE-1876-103, Effet de brouillard en mer
Eng.: fog effect at sea.
Compare: SdAF-1882-1651, Effet de brouillard dans les mers du Nord.
Berson refers to the review of d’Olby (R90II,p39), who reviewed ‘the sky and the water merge, without being confused, in a milky tone‘ (R90I,p99). Laruent-Pichat remarks ‘The fog is accurate. He knows how to be simple.’ (iR437)
I render a compilation of two paintings:
One undated, but this painting depicts the edge of the sea:
18??, Sbl, Effet de brouillard à Berck, ?cm, ChM Boulogne-sur-Mer (iR127;iR1;R2,p162;R90I,p99;M203).
And one dated later, depicting the mist at full sea: 1880, SDbl, Effet de brouillard, ?cm, MdF Berck (iR?;iR1;R2,p162;M202)

2IE-1876-104, Étude de bateaux
Eng.: study of boats. Berson omits this work, which means there were no reviews (R90II,p39).
There are many pictures in which Lepic depicted boats. See also no. 112.
I render a compilation of two paintings:
A later painting of Lepic explicitly called a study depicting a single boat:
1879, SDbr, Le retour, esquisse, 14×21, private (R287,p208)
And a painting of Claude Monet explicitly called a study of boats:
1873, CR259, Study of boats, 50×60, MFA Boston (M22;R22,no259).

2IE-1876-105, La plage de Berck
Eng.: the beach at Berck. Berson omits this work, which means there were no reviews (R90II,p39).
Lepic made many pictures of the beach at Berck.
I render as one of many options: 1876ca, The beach at Berck (Pas-de-Calais), 127×246, PBA Lille (iRx;iR6;iR35;iR23;iR127;iR130;M17)
Compare also a bit later work: 1877-79ca, La plage de Berck à marée basse, 60×82, MdF Berck (iR6;iR15;iR11;iR13;M202).
Compare also no. 106 + 112 + SdAF-1881-1426, Plage de Berck; panneau décoratif + SdAF-1887-1490, La plage de Berck; panneau décoratif; see overview.

2IE-1876-106, Le Christ de la plage de Berck
Eng.: The Christ of the beach at Berck. Berson refers to the review of Pothey (R90II,p39), who just mentions the work (R90I,p104).
Maybe it refers to a calvary, like in: 1876ca, Un Calvaire a Cayeux (Somme), etch, 27×10, A2023/02/25 + BNF Paris (iR17;iR40).
I render a compilation of this engraving and a painting of Lepic, maybe depicting a calvery in the distance and also depicting the beach of Berck: 1876, The beach at Berck, xx, PBA Lille (iR94).
And to compare I also render a painting of another artist depicting a calvary (on another beach): Corot: Honfleur, Calvary on the Côte de Grace, 45×68, unknown location (iR10;iR132)

2IE-1876-107, Bateaux de la baie de Somme
Eng.: Boats in the Bay of the Somme.
Lepic showed 3 paintings made in the Bay of the Somme, no.107 +113 and one depicting Hourdel (no.109) and 2 watercolours (no.127).
Berson omits this work, which means there were no reviews (R90II,p39).
To compare I render a (probably) later painting depicting boats in the Bay of the Somme:
1888ca, Baie de Somme, le matin, 89×51, A2012/03/30 (iR11;iR17;iR13;iR1;R2,p162).
Compare: S1876-1298, Le calme dans la baie de Somme.

2IE-1876-108, Un brisant (étude)
Eng.: a breaking / crushing (study). Berson omits this work, which means there were no reviews (R90II,p39).
Maybe 2IE-1876-108 was a preliminary sketch for S1877-1329, Bateau cassé.
To compare I render a painting that looks a bit more finished and that is dedicated: 1876-79ca, The Smashed Boat (no.2) (à Mlle Lavezzari), 96×130, MdF Berck (aR4=M202;iR6;iR35;iR4;iR1;R276,p10)

2IE-1876-109, La plage de Hourdel
Eng.: the beach at Hourdel. Le Hourdel is a small commune near Cayeux-sur-Mer, in the Bay of the Somme (compare no.107+113), about 40km south of Berck (iR9). Lepic showed 3 paintings made in the Bay of the Somme, no.107 +113 and one depicting Hourdel (no.109) and 2 watercolours (no.127).
Berson omits this work, which means there were no reviews (R90II,p39).
There are several works known of Lepic depicting an unlocated beach.
As a very uncertain option I render one of them: 1870ca, Sbl, Plage en Normandie, on panel, 35×65, A2011/11/30 (iR13;R2,p162)
As another uncertain option I render a beach scene in the bay of the Somme, which could be in Le Hourdel: 1879ca (before), Sbr, Récolte  du varech dans la Baie de Somme (ambarquement avant le départ), 98×130, private (R276,p122).
I render a compilation of both pictures.

2IE-1876-110, Le beaupré
Eng.: bowsprit. Nl.: boegspriet. See info (iR4).
Berson refers to the review of Pothey and Porcheron (R90II,p39). Porcheron probably calls it ‘La pipe et le mât’ (Eng.: The pipe and the mast) and describes it as ‘on the left, a corner of the bow of a fishing boat, a pipe on the planking and two or three swallows on the end of the bowsprit, sky and sea in the background‘; Nl.: links, een hoek van de boeg van een vissersboot, een pijp op de planken en twee of drie zwaluwen op het uiteinde van de boegspriet, lucht en zee op de achtergrond’ (R90I,p102). Pothey just mentions the work (R90I,p104).
Laurent-Pichat describes: “A mast crosses the canvas. We see part of the ship where fish are drying, suspended. At the end of the mast, we see a piece of canvas, securely attached and violently buffeted by the wind; we sense that the ship is moving. A small branch of greenery, a touch of poetry, near the hanging fish, a pink buoy in the distance, steamboats smoking down there, and on the mast that crosses the canvas, in an unsightly manner, although swallows are perched.” (iR437)
To compare I render two compilations.
First one with two pictures:
A painting of Lepic, clearly depicting a bowsprit; but it doesn’t fit the review of Porcheron and Laurent-Pichat:
1875, SDbr, Pêche de nuit au chien de mer, 132×152, Nantes MBA (M16;iR23;R276,p106)
And an engraving of another artist, Arthur (John-Trevor) Briscoe (1873-1943), explicitly depicting a bowsprit and partly resembling the review of Porcheron: Sbr, Le beaupré (the bowsprit), engraving (iR155;iR10).
Secondly I render a composed picture of the above mentioned painting of Lepic and a detail of the etch of Briscoe. And I added details from 3 other pictures of Lepic:
18??, Sbr, Marine, 30×46, A2016/06/08 (iR13); depicting one steamboat.
and: 1878, SDbl, 129×216, MBA Reims (iR23;R276,p130); depicting ‘fish are drying, suspended’; see S1879-1898, La pêche au hareng d’Ecosse par les bateaux de Berck.
and: 1889ca, Faïenceries de Creil & Monterau no 78, ink wc, 35×27, Creil MGJ (iR23); depicting a red (not a pink) buoy.
Note: I didn’t manage to depict the swallows on the mast.
In this picture I also render the mentioned reviews.
Note: In his engravings Lepic depicted many sailing boats with a prominent bowsprit.

2IE-1876-111, Forcé !
Nl.: gedwongen. Berson refers to the reviews of L’Audience, Blémont, Boubée, Enault, E.F., d’Olby, Pothey (R90II,p39). Blémont and E.F. described it as a ‘wild boar forces in snowy weather‘ (R90I,p63+84). Boubée also writes about a ‘wild boar’ (R90I,p64). Enault reviewed ‘His large study of wild boar is of rare vigour. Forced into his hole and ready to make a stand, the old loner is superb in his daring, courage and resolution. I feel sorry for the first bloodhounds who will try to cuff him.’ (R90I,p83). G. d’Olby also writes about ‘The Great Boar forced into its crib’, as if this was the full title (R90I,p99). Pothey described it as ‘a large hunting painting representing a strong Boar, in snowy weather, which comes to die in an undergrowth.’ (R90I,p104).
The location where the wild boar in the snow tries to hide, is not fully clear. d’Olby mentions ’taillis’ (undergrowth), Enault mentions ‘bauge’ (a boar’s leg / pack; nest; cubby hole). The discriptions suggest it handles about a adult wild boar, who mostly lives solitairy. So, this hidding place, probably wasn’t the boar’s leg or pack or nest, which more refers to female and young boars. (iR5)
So, we are looking for a large painting depicting a strong wild boar in the snow, hunted back in the undergrowth, ready to make a stand.
The only oil paintings I know of Lepic depicting snow scenes are:
18??, Sbr, Return of the fisherman, 95×127, A2024/06/27 (iR17;iR10)
and: 1879, Le retour de la pêche, 75×115, A1998/04/22 (iR13)
and: 1879ca, Sbr, Plage de Berck sous la neige, ?cm, Md Berck (iRx;M202)
1870, SDbl, Le Gué, 122×222, MF Aix-les-Bains (R276)
and: 1878, Sbl, Bobo 2, ?cm, Md Berck (iRx;M202)
The first 3 render beach scenes and have not much relation with our topic. The 4th painting depict deer in the snow near a ford. The last painting (also on a beach) seems to depict a hunting scene, with probably a hunting dog in the foreground and a hunter in the back; compare also S1863-2689, Tête de chien courant de Vendée, d’après M. Jadin; eau forte.
Lepic made an engraving of the head of a wild boar: 1869, SDbl, Wild boar nailed to a wooden panel, etch, 24×16 (31×25), Orsay (iR127;iR40;M1;M5;see)
Lepic made a watercolour depicting another animal (a horse) in the snow:
1867, SDbr, La pièce perdue (La pièce démontée), aquarelle, 90×115, Md Grenoble (iR23;R276;M198); it was made after a lithograph (or drawing) by Géricault entitled The Dead Horse; it was exhibited as S1868-3047, La pièce démontée; dessin.
To compare I render a compilation of the above mentioned watercolour of Lepic and of a painting of another artist, Carl Friedrich Deiker (1836-92): 1888, Hound tracking down a wild boar, oil, 40×55, private (iR389;iR10); it depicts a wild boar hunted in the snow, forced back in the undergrowth, ready to make a stand; a painting that fits the reviews very much.

2IE-1876-112, Bateaux de la plage de Berck
Eng.: boats at the beach of Berck. Berson omits this work, which means there were no reviews (R90II,p39).
Lepic depicted the beach of Berck very often including boats on or near it, see also the overview.
I render a compilation of two uncertain options:
1876ca, Boats on the beach of Berck, ?cm, FAM San Francisco (M30;iR64;iR?;R2,p162);
and uncertainly dated a bit later: 1877-79ca, Sbl, Plage de Berck, au pliant (barques de pêche échouées sur la plage de Berck), 74×93 MdF Berck (iRx;iR6;iR35;iR313;R2,p162;M202)
Compare also other works that are dated a bit later:
1879ca, Plage de Berck, no 5, xx, MdF Berck (iRx;M202;R2,p162);
and: 1879ca, Beach at Berck no.11, xx, MdF Berck (iR6;iR94;M202;R2,p162).

2IE-1876-113, La Bouée No 2, baie de Somme
Eng: the buoy. Nl.: baken; reddingsboei.
Lepic showed 3 paintings made in the Bay of the Somme, no.107 +113 and one depicting Hourdel (no.109) and 2 watercolours (no.127).
Berson refers to the review of Pothey  and Porcheron (R90II,p39), they just mention ‘La Bouée’, but Pothey adds ‘rose’. Laurent-Pichet remarks ‘(Lepic) is precise even in the details’ (iR437).
G. d’Olby (Rv38) is more descriptive: ‘The tender pink buoy, which flirts with its reflection in the water, but caressing it is not enough to capture the interest of the spectator, even by the unpredictability of the subject, which makes you think of the Langouste atmosphere by Hervé.’ (R90I,p99)
To compare I render a compilation of two designs for diner plates:
1889ca, Faïenceries de Creil & Monterau no 78, ink wc, 35×27, Creil MGJ (iR23;R2,p162;R90II,p39);
and: 1889ca, Faïenceries de Creil & Monterau no 102, ink wc, 35×27, Creil MGJ (iR23;iR1;R2,p162;R90I,p104)
And a plate mark Lepic used, depicting a buoy: 18??, Léveillé, La Bouée au pavillon Lepic, marque au assiettes, engraving? (R276).
Compare also: SdAF-1887- 3166, La bouée; nord de Cayeux
Compare also a neo-impressionistic painting of Paul Signac depicting a red buoy: 1895, CR284, La bouée rouge, 81×65, Orsay (iR4; M1)

2IE-1876-114, Clair de lune en mer (Manche)
Eng.: moonlight on the sea (Manche). La Manche is a French department in Normandy, being a peninsula (iR3; iR9), but it also stands for the English Channel (iR4). The title leaves room for both options.
Berson omits this work, which means there were no reviews (R90II,p39).
To compare I render a compilation of two paintings:
One of Lepic, clearly depicting a moonlight; but, the emphasis is on the depicted owl and it’s unlocated:
1865-70, Sbl, Un grand duc au clair de lune, oil, 163×122, A2025/11/28 (aR15;iR6)
The second is of another painter, made later, but clearly depicting the moonlight on the sea (and unlocated):
Octave de Champeaux (1827-1903):1896ca, Clair de lune en mer, ?cm, Orsay (iR10;M1); (exhibited as SdAF-1896-426).
See also the watercolour I render in the compilation of no.115, depicting the coast of La Manche (probably) depicting a setting sun: 1871, SDbr, Marée basse sur les côtes de la Manche, aquarelle, 27×38, Musée-château Annecy (R276,p86)

2IE-1876-115, Effet de soleil (Manche)
Eng.: Effect of sunlight (Manche). Berson refers to the review of Pothey (R90II,p39), who just mentions the work (R90I,p104).
To compare I render a compilation of two pictures of Lepic:
First a watercolour depicting the coast of La Manche (probably) depicting a setting sun: 1871, SDbr, Marée basse sur les côtes de la Manche, aquarelle, 27×38, Musée-château Annecy (R276,p86)
Secondly an oil painting depicting clear beams of sunlight at full sea, probably the English Channel (=La Manche):
1878, SDbr, Bateau brisé après la tempête, oil, 131×150, Galerie Ary Jan Paris (iR10; see)

2IE-1876-116, La plage de Cayeux (effet de nuit)
Eng.: the beach at Cayeux (effect of the night).
Cayeux-sur-Mer lies just south of the Bay of the Somme and of Hourdel (iR9). Lepic depicted 2 paintings of Cayeux (no.116+123) and a watercolour (no.130).
Berson omits this work, which means there were no reviews (R90II,p39).
To compare I render a compilation of two pictures of Lepic:
The first a watercolour depicting the beach at Cayeux, but in clear daylight:
1873, Plage Cayeux, aquarelle, 21×48, private (R276,p104)
The second an oil painting depicting the full sea (so no beach) during a storm; the dark sky gives a sort of night effect:
1873-76ca (1860ca), Sbl, Un grain (La tempête), oil, 73×92, MF Aix-les-Bains (aR8;R276)

2IE-1876-117, Le halage d’un bateau
Berson omits this work, which means there were no reviews (R90II,p39).
Eng.: boat towing. Nl.: sleepboot. This usually means pulling a boat (by a horse) along a towpath. I couldn’t find such a picture made by Lepic. But maybe it also means that a boat is pulled by another boat on full water. This is depicted by Lepic in: 18xx, Le remorquage* (towing), 125×97, MdF Berck (aR4=M202;iR13;R2,p162). I render this undated work as a (very) uncertain suggestion.
*Nl.: Het slepen; op sleeptouw nemen; de sleepdienst.

2IE-1876-118, Un cabestan
Eng.: a capstan / cape stand. Nl.: kaapstander. For more info and pictures see ; iR4; iR6.
Berson omits this work, which means there were no reviews (R90II,p39).
Compare a painting of Troyon depicting a cape stand:
Constant Troyon (1810–1865): 1840-65ca, Sbl, Strandgezicht met kaapstanders (Beach scene with cape stands), op, 36x47cm, RM  Amsterdam (iR6;iR10;M77); the colours seem more sub-dued than those of Lepic.
Raphaël Ponson (1835-1904): Cabestan Au Bord De Mer, 29×46, Gallery Cassis (iR116;iR10); his use of colour seems brighter than that of Lepic.
Louis-Robert Carrier-Belleuse (1848-1913): Au cabestan (iR506;iR10); this depicts more the activity with the cape stand.
Lepic often depicted the beach / coast at Berck, but I couldn’t discern cpae stands on it.
To compare I render a beach scene with a large anchor: 1879ca (before), Sbr, Plage à l’ancre no.3, 36×60, private (aR11;R276,p126).
I render a compilation of this painting and the one of Ponson.

2IE-1876-119, Le voilier
Eng.: sailing ship. Berson omits this work, which means there were no reviews (R90II,p39).
To compare I render a compilation of two paintings.
One explicitly depicting a sailing ship, but dated later: 1884, Sbl, Voilier, 98×131, private (R276,p169)
And an undated work depicting a sailing ship, but named very common: 18??, Sbr, Marine, 30×46, A2016/06/08 (iR13;R2,p262).

2IE-1876-120, Bateau à sec
Eng.: boat on the dry beach. Berson omits this work, which means there were no reviews (R90II,p39).
Lepic depicted many boats on the beach (at low tide), see no.112 +127. For this singular form we must look for one boat lying on the dry beach.
I render as one of several options: 1879ca (before), Sbr, Plage de Berck no.10, 38×62, Galerie Ary Jan Paris (iRx;iR10;R276,p125;R2,p162)
Another very uncertain option is: 18??, Sbr, Retour de pêche à Dieppe, 130×89, A2007/12/07 (iR13;R2,p162); it depicts more than one boat, but one boat is prominent on the foreground.

2IE-1876-121, Le charpentier
Eng.: the carpenter.
Berson doesn’t refer to reviews (R90IIp39). Laurent-Pichat remarks ‘often there are too many accessories’ (iR437).
I couldn’t find a picture of Lepic depicting a carpenter.
There are not many paintings explicitly depicting a carpenter. Mostly it depicts an imagination of Saint Joseph and Jesus as a child:
Georges de la Tour, 1642-44ca, Louvre (iR357;iR6;M5)
Anonymous, 1630ca (see; see)
Gerrit van Honthorst, 1620, Hermitage (M95; see)
The dating, the painting style and the subject don’t fit the style of Lepic at all.
There are also some paintings from the 19th century in a more realist style:
Frans Mortelmans (1865-1936): 1887, SDbr, The carpenter, 40x31cm, unknown location (iR358;iR154;iR5;iR10)
Tony Offermans (1854–1911): The village carpenter, ?cm, unknown location (iR505;iR10)
Tony Offermans (1854–1911): The Carpenter’s shop, ?cm, Bourne Gallery, Reigate, Surrey, UK (iR155;iR10)
Gustav Wentzel (1859-1927): 1881, A Carpenter’s Workshop, 69×53, Nm Oslo (M92;iR10)
I render a compilation of the painting of Mortelmans and a painting of Lepic, depicting craftsmen at work in an interior:
1867ca, Sbl, Étude de forge (à Sommevoire en Haute-Marne), 93×62, private (R276)
See also the carpenters at work at the construction site in no.123.

2IE-1876-122, La plage
Eng.: the beach. Berson omits this work, which means there were no reviews (R90II,p39). Lepic depicted many beaches, namely at Berck, see also no. 105 and no. 112.
One of many uncertain options I render is: 18??, Sbr, The beach at Berck, ?cm, MdF Berck (iR6;M202;R2,p162).

2IE-1876-123, Le chantier de Cayeux
Eng.: the construction site at Cayeux.
Cayeux-sur-Mer lies just south of the Bay of the Somme and of Hourdel (iR9).
Lepic depicted 2 paintings of Cayeux (no.116+123) and a watercolour (no.130).
Berson omits this work, which means there were no reviews (R90II,p39).
I render a compilation of two pictures:
One of another painter clearly depicting an unlocated construction site: Jean-Charles Cazin (1841-1901): 1875ca, Le chantier naval, 78×128, Cleveland MA (iR6;M27)
And one later painting of Lepic depicting a beach scene with boats and people (at another location), which has similarities with the Cazin picture: 1885, Sbl, Bateaux Normands (à Yport), 150×214, Mairie Saint-Péray (R276,p182).
Compare also a painting of Berthe Morisot, also exhibited in 1876 (no.174, Un Chantier):
1874, CR39, Boats under Construction (Fécamp), 33×41, Marmottan (iR2;iR6;R90II,p60;R100,p26;M2)

2IE-1876-124, Pompeï (5 aquarelles d’après nature)
5 watercolours of Pompeï. Berson refers to the review of Blémont and E.F. (R90II,p39). Blémont just mentions it (R90I,p63), Enault writes about the restorations of Pompeï’ (R90I,p83), E.F. writes about ‘ruines’ (R90I,p84).
I render a compilation of 5 art-works (so, though counted as 5 works I render 1 picture frame, including 5 pictures):
First 2 works of Lepic:
A watercolour, depicting ruines, but in the south of Italy: 1872, Sbr, Ruines romaines en Calabre, wc, 27×38, MCh Annecy (R276)
An etch depicting ruines in Italy, but unknown where: 18??, Ruines en Italie, etch, 19x12cm, BNF Paris (iR6;iR40).
And 3 watercolours by another artist, namely Luigi Bazzani (1836-1927) (iR3), depicting the ruines of Pompeii:
1896, Exterior wall of a domus in Pompeii, watercolour, ?cm, VAM London (iR6;M65)
1886, Atrium of the House of the Ancient Hunt in Pompeii, watercolour, ?cm, unknown location (iR6)
1913, Atrium of the House of Cornelius Rufus in Pompeii, watercolour, ?cm (iR6)
Compare also watercolours of other artists:
Claes Grundström: 1918, Pompeii Ruins and Vesuvius, watercolour, ?cm (iR421)
Unknown 19th century English artist: 1850, The Forum; Grand Tour Pompeii, watercolour, 47×67, (iR421)

2IE-1876-125, Le quai Sancte Lucia à Naples (aquarelle)
Berson omits this work, which means there were no reviews (R90II,p39).
There is a quarter called Sancte Lusia in Naples with a wharf / quay / boulevard along the bay of Napels.
Maybe this is the same work as: S1875-2497, Le port de Santa-Lucia (Naples); aquarelle.
To compare I render an oil painting of another artist: 1820ca, Le quai Santa Lucia, Naples, ?cm, Hermitage (iR155; M95)
This scene is depicted by Lepic in an oil painting, but then from a high viewpoint, which I will render to compare:
1862, La baie de Naples par temps clair, oil, 94×128, A1997/12/05 (iR13).
To compare I also render a watercolour of Lepic, depicting the Torre del Greco, a bit more to the south-east, also in the bay of Naples (iR9):
1871, SDbr, Torre del Greco (Naples), aquarelle, 27×37, unknown location (R276)
I render a compilation of both.
Compare also other painters who rendered this scene:
Silvestr Fedosievich Shchedrin (1791-1830):
1820ca, Le quai Santa Lucia, Naples, ?cm, Hermitage (iR155; M95)
Vue de Naples, le quai de Santa Lucia (iR155)
Le quai Santa Lucia à Naples, une nuit de pleine lune (iR155)
And: Rudolf von Alt (1812-1905): 1867, On the beach of Santa Lucia in Naples, 53×79, Belvedère (iR7)
And: Salvatore Candido: 1840, Naples depuis Santa Lucia (iR155)
And:  Francesco Aversano: Plage de Santa Lucia, à Naples, litho (iR155)
And: Giacinto Gigante (1806-76): 1838, Naples Santa Lucia, 43×59 (see anticstore.com)
And: Oswald Achenbach (1827–1905): 1875, Fireworks in Santa Lucia, Naples, by night, 65×100, Hermitage (iR6;M95)

Compare also: 1IE-1874-76, Golfe de Naples, aquarelle
and: S1875-2498, Le golfe de Naples, vu du cours Victor-Emmanuel; aquarelle.

2IE-1876-126, Filets (2 aquarelles)
2 watercolours of nets. Berson omits this work, which means there were no reviews (R90II,p39).
Maybe the same as: S1872-1007, Filets étendus; aquarelle.
Lepic often depicted fishing nets.
I found just one watercolour of Lepic that clearly depicts nets: 1871, SDbr, Marée basse sur les côtes de la Manche, aquarelle, 27×38, Musée-château Annecy (R276,p86); but they are shown in the rear at the right, so this would not be a likely option. So, I render it two times in a compilation to compare:
In the first compilation I also render an etch clearly depicting extended nets (drying): 1869, Marée basse avec filets séchant, etch, 21×32, BNF Paris (iR40;iR23).
In the second compilation I also render an oil painting, clearly showing nets, but the fisherman mending his net is most prominant: 1873-76ca, Sbr, Plage avec marin reprisant un filet, oil, 98×130, MF Aix-les-Baines (aR8;R276).
Compare also the works I suggest for no.132 and no.136.

2IE-1876-127, Barque échouée (baie de Somme) (2 aquarelles)
2 watercolours of stranded boats.
Lepic showed 3 paintings made in the Bay of the Somme, no.107 +113 and one depicting Hourdel (no.109) and 2 watercolours (no.127).
Berson omits this work, which means there were no reviews (R90II,p39). Lepic often depicted stranded boats.
I render two compilations of an oil painting depicting a stranded boat (unlocated):
18??, Barque échouée sur une plage, oil, 60×90, A2013/10/04 (iR17;iR13;iR11)
18xx, Bateau français échoué sur la plage, 20×38, A2018/01/17 (iR17; Former collection of Delannoy)
and of a watercolour depicting a boat on the beach in Napoli:
1871, SDbr, Barque napolitaine, aquarelle, 21×48, xx (R276).
Compare other stranded boats:
1877-79ca, Plage de Berck, au pliant (barques de pêche échouées sur la plage de Berck), 74×93 MdF Berck (iRx;iR6;iR35;iR313;M202); a work I also render to compare for no.112.

2IE-1876-128, Falaises du Tréport (aquarelle)
Eng.: Cliffs at Tréport, watercolour.
Le Treport lies 18km south of Cayeux (iR9).
Berson refers to the review of E.F. (R90II,p39), who just mentions the work (R90I,p84).
To compare I render a compilation of an etch depicting cliffs, possibly in the nearbourhood of Tréport: 1870, Falaise du Nord, avec pavillon-signal, etch, 12×23, BM London (iR105;M181).
And a watercolour depicting some rocks on the beach and in the distance some cliffs, but in Saint-Malo, 380km south(-west) of Tréport (iR9): 1881, SDbr, The beach at Saint-Malo, wc, 30×43, A2020/09/08 (iR11)

2IE-1876-129, Soleil en mer (aquarelle)
Eng.: sun on the sea. Berson omits this work, which means there were no reviews (R90II,p39).
Compare: SdAF-1888-3286, Soleil sur la mer du Nord; aquarelle.
As an uncertain option I render:
1874, SDbr, Bord de mer, aquarelle, 27x37cm, A2024/02/02 (iR11;R2,p162)
Compare an oil painting also depicting the sunlight on the sea:
1873-76 (1860ca), Sbl, La mer par temps calme, oil, 59×80, MF Aix-les-Bains (aR8;R276)

2IE-1876-130, L’église de Cayeux (aquarelle)
Eng.: the church at Cayeux, watercolour.
Cayeux-sur-Mer lies just south of the Bay of the Somme and of Hourdel (iR9). Lepic depicted 2 paintings of Cayeux (no.116+123) and a watercolour (no.130).
Berson omits this work, which means there were no reviews (R90II,p39).
I render a compilation of two watercolours of Lepic:
One depicting windmills with probably in the distance the old church from the 13th century (see; iR79; iR431)
1873ca, Sbr, À Cayeux-sur-Mer (Somme), wc+g, 21×48, MATP Paris (R276)
And one depicting the church of Santa Maria di Portosalvo in Torre del Greco (iR9; see), which is part of Naples:
1871, SDbr, Torre del Greco, wc, 27×37, unknown location (R276)

2IE-1876-131, Barque Napolitaine (aquarelle)
Eng.: Berson omits this work, which means there were no reviews (R90II,p39).
Maybe: 1871, SDbr, Barque napolitaine, wc, 21×48, unknown location (R276;R2,p162).

2IE-1876-132, Les souterrains du port de Naples (aquarelle)
Eng.: The underground vault / cave / cavern of the harbour of Naples (watercolour). Berson omits this work, which means there were no reviews (R90II,p39).
Un uncertain option is: 1871, A fisherman’s grotto (Naples), gouache, 27×38, A2015/07/08 (iR11;iR14;iR13;iR41).
To compare I also render an oil painting depicting a cave, probably with a view on the Vesuvius, so in Naples:
18??, Grotta con pescatori, xx, A2010/05/19 (iR13); unfortunatedly I don’t have a better picture.
I render them both in a compilation.
Compare: S1875-2499, Cabane de pêcheurs, à Torre del Greco (Italie); aquarelle.

2IE-1876-133, Fontaine à la Cava, prés de Naples (aquarelle)
Eng.: Fountain at La Cava, near Naples (watercolour).
Berson omits this work, which means there were no reviews (R90II,p39).
La Cava or Cava de Tirreni was (formerly) a village near Naples; on a central square there also is a fountain (see; iR9).
To compare I render a compilation of a photo of this fountain and a watercolour of Lepic made west of Naples depicting a completely different scene: 1871, Sbr, Lac Averno et temple de Pluton (near Cumes in Campanie), aquarelle, 27×38, MCh Annecy (R276;iR9)

2IE-1876-134, La balade des pendus (eau forte); appartient à M. Arsène Houssaye
Eng.: the song of the hanging man. Moffett refers to the Cabinet des Estampes, Berson is more specific: 1869, 13×28, etch, BNF (R90II,p39+56). Berson refers to the review of Blémont (R90II,p39), who makes clear it represents a scene from a work by Théodore de Banville (R90I,p63).
See also Beraldi (R85IX,p143,no3-7)
I render: 1869, SDbr, B3-7, Le verger du roi Louis, etch, 20×28, BNF Paris (iR6;iR40,btv1b10315857r;R90II,p56+39;R2,p162;R85IX,p143,no3-7)

2IE-1876-135, Croquis Hollandais (2 cadres eaux fortes)
Note: this number contains 2 frames with etchings depicting studies made in Holland. So it seems to contain at least 4 etchings. Berson refers to the review of E.F. (R90II,p39), who writes about ‘mysterious landscapes’ (R90I,p84).
Compare: S1870-5260, Neuf gravures à l’eau-forte; même numéro: Vues de Hollande.
When the etchings exhibited in 1870 were also exhibited as no.135 and no.136, this would mean no.135 contained 2×4=8 etchings.
Beraldi mentions under no.4: “Croquis hollandais et autres, titre et série (chez Cadart), moulins, barques, etc. Paysage sur l’Escaut, in-fol. en 1; Moulins; Bateaux; Pêcheurs à la ligne; Environs de Dordrecht, etc., etc.” (R85IX,p143,no4) So, explicitly he mentions 5 different scenes, making clear there are many more. The first title is made in Belgium, close to Holland. Possibly he showed some of these works at the Salon: S1876-3903, Trois eaux-fortes: Paysages des bords de l’Escaut’.
See also the frontispiece of this collection: 1870, Croquis hollandais et autres: un peu de chaque chose et rien du tout à la française Beaumarchais; Cadart, éditeurs imprimeurs; engraving; 24×16, BNF Paris (iR6; iR40,btv1b10315854d)
But, maybe Lepic made a second edition with engravings depicting Holland, called L’Illustration nouvelle, also printed by Cadart, see:
1876, Sbl, Environs de Dordrecht (L’Illustration nouvelle, Cadart), etch, 16×24, NGA Washington (iR6; iR40,btv1b10315791b; M21)
Note: this title ‘environs de Dordrecht is explicitly mentioned by Beraldi.

I render 8 uncertain options; I assume the ones dated are more sure:
1867, SDtl, Transport de bois sur la glace, etch, 13×28, BNF Paris (iR6; iR40,btv1b10325097p); I render the variation with snow (iR6; iR40,btv1b10315774v)*.
1869, SDtr, Cigognes, etch, 16×24, BNF Paris (iR6; iR40)
1869, SDtr, Cigogne au coucher du soleil, etch, 24×16, BNF Paris (iR6; iR40,btv1b10315862x)*.
1869, SDtr, Les patineurs, etch, 13×28, BNF Paris (iR6; iR40,btv1b10315866q; iR11; iR17)

1869, SDtl, Moulins et voiliers, etch, 13×23, BNF Paris (iR6; iR40,btv1b103158819)
1870, SDtl, Pêcheur en barque avec son chien, etch, 13×23, BNF Paris (iR6; iR40,btv1b10315859n)*.
1870, SDtr, Moulin dans les roseaux, 13×23, BNF Paris (iR6; iR40,btv1b103157776)
1869, SDtr, Deux voiliers, engraving, 13×23, BNF Paris (iR6; iR40,btv1b10315836g)*.

These are other works, that (probably*) depict scenes in Holland and also are uncertain options:
1867, SDtl, Patineurs en Hollande, etch, 13×28, BNF Paris (iR6; iR40,btv1b10315873s)
1869, SDtl, Utrecht (sic?) (Pays-Bas), etch, 28×13, BNF Paris (iR6; iR40,btv1b10315888f); note: when this is Utrecht, Lepic depicted the Dom tower (iR6) (in the middle of the city) from a high viewpoint (iR6); but, strangely in the distance we see wet fields (with in the middle left maybe sailing boats) and even more in the distance a strip with water, which looks like the sea; but, that isn’t what you see in the surroundings of Utrecht (iR6); so, maybe the indication of Utrecht in the etch was an error or Lepic used a lot of artistic freedom in his rendering of the surroundings of Utrecht; but, maybe Utrecht looked quite different in those days and Lepic rendered a quite accurate view (compare a painting from 1740-60ca, iR6 and an etch from 1669, iR6).
1876, Sbl, Environs de Dordrecht (L’Illustration nouvelle, Cadart), etch, 16×24, NGA Washington (iR6; iR40,btv1b10315791b; M21)
18xx, Stl, En Hollande, engraving, 29×21, BNF Paris (iR6; iR40,btv1b103158139)
18xx, Etang au moulin, petit arbre à droite, engraving 14×19, BNF Paris (iR6; iR40,btv1b10315790w)
18xx, Les moulins à vent, etch, 16×24, BNF Paris (iR6; iR40,btv1b103158908)
18xx, Stl, Moulin dans un bosquet, avec trois personnages à gauche sur un pont rustique, 16×24, BNF Paris (iR6; iR40,btv1b10315765w)
18xx, Sbr, Moulin et village au clocher bulbeux, etch, 10×28, BNF Paris (iR6; iR40,btv1b10315902t)
18??, Str, Bords de rivière ombreux avec deux moulins et clocher à droit, etch, 28×10, BNF Paris (iR6; iR40,btv1b10315898v)*.
18xx, Sbl, Moulin au-dessus de deux chaumières, etch, 24×16, BNF Paris (iR6; iR40,btv1b10315800j)
18xx, Stl, Moulin dans les champs avec chaumière dont la cheminée fume, etch, 16×24, BNF Paris (iR6; iR40,btv1b10315789h)
18xx, Str, Moulin dans les champs, deux personnages au premier plan, etch, 16×24, BNF Paris (iR6; iR40,btv1b103157882)
18xx, Stl, Traineau et arbre dépouillé, etch, 14×19, BNF Paris (iR6; iR40,btv1b10315785q)*.
18xx, Str, Rivière avec navire et sémaphore, une bouée flotte au premier plan, etch, 10×28, BNF Paris (iR6; iR40,btv1b10315818j)*.
18xx, Rivière avec barques, moulins et bois, etch, 16×24, BNF Paris (iR6; iR40,btv1b10315820c)
18xx, Rives avec filets séchant à gauche, etch, 16×24, BNF Paris (iR6; iR40,btv1b103158317)*.
18xx, Stl, Quatre arbres, etch, 24×16, BNF Paris (iR6; iR40,btv1b103158406)*.
18xx, Sbl, Pont de bois à trois personnages, etch, 16×24, BNF Paris (iR6; iR40,btv1b103158586)*.
18xx, Str, Patineurs avec spectateur assis à gauche, près de deux arbres, etch, 10×28, BNF Paris (iR6; iR40,btv1b10315879g)*.
18xx, Bord de rivière avec saules et navire avec pavillon, etch, 15×16?, BNF Paris (iR6; iR40,btv1b10315906m)*.
18xx, Voiliers et appontement, etch, 24×16, BNF Paris (iR6; iR40,btv1b10315807p)*.
18xx, Stl, Voiliers, un arbrisseau au premier plan, etch, 24×16, BNF Paris (iR6; iR40,btv1b103157954; iR313)*.
18xx, Voilier, etch, 24×16, BNF Paris + Orsay (iR6; iR40,btv1b103158173; iR127; M1)*.
18xx, Sbr, Paysage en Hollande avec moulins à vent et pont de bois (Landscape in Holland with windmills and wooden bridge), etch, 19×31, Orsay (M1; iR127)
Note*: these works depict windmills (in the distance), which makes me think they were made in Holland; but, note that the serie made of the Scheldt, near Antwerp in Belgium, also depicts windmills; see S1876-3903, Trois eaux-fortes: Paysages des bords de l’Escaut.

Note: Lepic also made a serie ‘Winter in Holland’ depicting skaters and windmills at various times of day. They were made between 1870-80 and many are now in the Rijksmuseum in Amsterdam (M77). Several are fully (or partly) done in a monostyle technique. If they were exhibited as no.135, it would be likely that this was indicated in the catalogue like no.137.

2IE-1876-136, Canal en Hollande, lever de lune (eau forte)
Eng.: canal in Holland, rising of the moon (etch). Berson refers to the review of E.F. (R90II,p40), but he doesn’t seem to explicitly refer to this work. Berson suggests Vue des bords de l’Escaut: Lever de lune, etch, 46×82, Baltimore MA (R90II,p40+56). The only source that Berson mentions is a conversation with Eric Denker (R90II,p40). Compare Beraldi ‘Paysages sur l’Escaut’ (R85IX,p143,no4-1). What speaks against her suggestion is that the Scheldt (l’Escaut) lies in Belgium, not in Holland and that it is a river, not a canal.
At the same time in 1876 Lepic exhibited at the Salon: ‘S1876-3903, Trois eaux-fortes: Paysages des bords de l’Escaut’; the work Berson suggests is a variation of a serie of which 3 were exhibited at the Salon; of course it is possible that Lepic used the variation of Moonrise for 2IE-1876-136.
Another uncertain suggestion is: 18??, Moonlit landscape with nets in the foreground, hanging from a tree, etch, 40×28, Orsay (iR127;M1;M5); note: this work is not located.
I will render a compilation of this one and the suggestion of Berson.

2IE-1876-137, Tête de chien, épreuve tirée sur plaque sans gravure
Eng.: Head of a dog, print on plate without engraving. Berson suggests a monotype attributed to J. Andrée (br), 30×28, Baltimore MA (R90II,p40+56). Berson refers to the review of Rivière (R90II,p40), who doesn’t describe the work, but mentioned that Lepic used a procedure he had invented (R90I,p71). Note: Beraldi sums up 15 heads of dogs, but he doesn’t mention the specification ‘épreuve tirée sur plaque sans gravure’ (R85IX,p143,no1).

 

 

Vicomte Ludovic Napoléon Lepic at the Salon:
Ludovic Lepic exhibited yearly at the Salon and it’s successor the Salon de la Société des Artistes Français from 1863 – 1888.
In total Lepic showed 64 works of which 11x watercolours, 1 gouache, 3x pastel, 7x etchings, 4 drawings and 2x decorative (oil) panel. He regularly indicated in the title the location and sometimes atmospherical influences.

  • 26x indication of place
  • 7x indication of time, season or weather
  • 3x a study
  • 7x loan (appartient à…):

See link for an impression of some works he showed at the Salon.
See also a topographical and thematical overview of his exhibited pictures.
My main sources are the Salon database (iR1) and a catalogue of Zimmer (2013=R276).
I will also refer to the etchings catalogued by Beraldi in 1889 (R85IX)

Background information:
The Salon database indicates that Lepic was born in Paris.
From 1863-68 the address given is Palais du Louvre.
From 1869+70 ‘chez M. Souty, rue du Louvre, 8’.
In 1872- ‘chez M. Poignant, quai du Louvre, 18’.
In 1873 ‘chez M. Carpentier, rue Halévy, 6’.
From 1874+75 ‘rue de Larochefoucauld, 46’.
1876-83: Rue de Maubeuge, 25.
1884+85: cité Malesherbes, 5.
1886: ‘chez M. Mary, rue Captal, 26’.
His teachers are Charles Verlat, le baron Wappers, Gleyre and 1874 onwards also of Cabanel.
Lepic exhibited ‘exempté’ from 1882-86.
Lepic also exhibited in 1887 + 88. (iR1)

 

Exhibited art-works:

S1863-2688, Tête de chien, d’après une esquisse de Géricault; eau forte
Mentioned by Beraldi no.1-1 and dated 1863 (R85IX,p143,no1-1).
Maybe this painting of Géricault is meant: 1819, Dog head, 55×64, Louvre (iR335;M5).
According to Zimmer (2013) this Salon engraving is now unknown (R276,p212). He renders one engraving made after Géricault: 1861, Sbr, Chien en colère, etch after Géricault, 34×28, BNF CdE Paris (R276); but the specific title doesn’t make it a good suggestion.

S1863-2689, Tête de chien courant de Vendée, d’après M. Jadin; eau forte.
Eng.: Head of a Vendée hound (see info and pictures).
Mentioned by Beraldi (no.1-4) (R85IX,p143,no1-4).
Probably a variation on: Ludovic Lepic (1839-89): 1861, Sbr, Tête de chien courant de Vendée, etch (after Jadin S1850, Barbaro), 51×38, MF Aix-les-Bains (R276;iR1;M201;R85IX,p143,no1-4).
According to Zimmer (2013) this Salon engraving is now unknown, but still he renders the etch with the same title (R276,p212).

S1863-2690, Pas commode ! d’après M. Jadin; eau forte
Eng.: Not convenient!.
It renders a ‘portrait du dogue de Delessert’ and is made on one of his biggest plates (aR3,p94);
Eng.: portrait of Delessert’s great dane; see info and pictures.
Note: Gérôme made a portrait of Edouard Delessert, see.
This title is mentioned by Beraldi (no.1-5a) (R85IX,p143)
Probably a variation on: 1861-63?, SDbr, B1-5a, Pas Commode! (after Jadin) (Chien de face), etch ps, 70×57 (91×73), Collin-estampes + A2008/04/17 + MF Aix-les-Bains (iRx;iR13;iR1;R276;R85IX,p143)
Note: the dating bottom middel/right is a bit vague; probably 1861, according to Zimmer 1862 (R276), others read 1863.
According to Zimmer (2013) this Salon engraving is now unknown, but still he renders the etch with the same title (R276,p212).

S1864-2936, Etude de chien, d’après M. Jadin; eau-forte
Additional info: (Voir à la Peinture).
Now unknown (R276,p212).
Beraldi mentions 5 studies of dogs made after Jadin no.1-5a-e (R85IX,p143), two of them were exhibited in 1874:
1IE-1874-79, César, portrait de chien, eau-forte;
and: 1IE-1874-80, Jupiter, portrait de chien, eau-forte.

S1865-1336, Le château de la misère (M. Théophile Gauthier, le capitaine Fracasse)
According to Zimmer (2013) this Salon painting is now unknown (R276,p212).
Compare: Félix Bracquemond: 1IE-1874-27-5, La mort de matamore (Capitaine Fracasse)

S1866-1211, Armurier du temps de Charles IX
Eng.: Armourer at the time of Charles IX.
Now in Musée Calvet Avignon (R276,p212)

S1867-1900, Etude de forge; dessin
Eng.: Study of a blacksmith.
Now: Association pour la sauvegarde et la promotion du patrimoine métallurgique haut-marnais (R276,p212).
Compare an (probably) oil painting, that looks like a pastel: 1867ca, Sbl, Étude de forge (à Sommevoire en Haute-Marne), oil?, 93×62, private (R276;iR1)

S1868-1559, Pilier de halle.
Eng.: Pillar of the hall.
Now in Musée Grenoble (R276,p212)
Pothey renders an etch and calls his two exhibited works ‘lively, brilliant, full of vitality and vigour and drawn with great care.’ (R265,no15=iR40).
Note: the etch has many similarities with this work: 1868, Le Pilier des Halles, 210×170, Md Grenoble (iR23). The size and the title of this work makes it a serious option to have been exhibited. Is the etch less accurate, or did Lepic paint 2 largely identical works?
I render a compilation.

S1868-1560, L’auberge de Jean Stern, à Leyde.
Additional info: (Voir aux Dessins, etc.).
Pothey renders an etch and calls his two exhibited works ‘lively, brilliant, full of vitality and vigour and drawn with great care.’ (R265,no15=iR40)
According to Zimmer (2013) this Salon painting is now unknown (R276,p212).

S1868-3047, La pièce démontée; dessin
Additional info: (Voir à la Peinture).
Now: 1867, SDbr, La pièce perdue (La Pièce démontée), aquarelle, 90×115, Md Grenoble (iR23;R276;M198);
made after a lithograph (or drawing) by Géricault entitled The Dead Horse.
Note the difference between ‘dessin (drawing)’ in the catalogue and watercolour.

S1869-1504, Le roi des Landes.
Eng.: The King of the Landes region.
Now in a private collection (R276,p212).

S1869-1505, Finis coronat opus.
Latin title. Eng.: The end crowns the work; the work is finished.
Now unknown (R276,p212).

S1870-1736, *Le gué.
Eng.: The ford. Nl.: Doorwaadbare plaats.
Now in Musée Faure in Aix-les-Bains: 1870, SDbl, Le Gué, 122×222, MF Aix-les-Bains  (R276,p212).

S1870-1737, *Die Sieger, les vainqueurs; chiens ayant la cocarde.
Eng.: the winners; dogs with a roundel. Nl.: honden met een gekleurde insigne / rozet / lintje.
Formerly in Musée Fauree in Aix-les-Bains, but now disappeared (R276,p212)

S1870-3714, Le Destin; dessin
Now unknown (R276,p212).
Compare an etch with the same title: 1869, SDtr, B2-7, Le Destin (Une echouette), etch, 24×16, BNF Paris (iR6;iR40,btv1b10315845f;R85IX,p143,no2-7).

S1870-3715, *Neuf dessins; même numéro: Vues prises au bord de la mer à Puy (Seine-Inférieure).
North of Dieppe lies Puys close to the Canal and in the region Seine-Inférieure.
Now unknown (R276,p212).

S1870-5259, Griffon d’Ecosse portant sa chasse accrochée dans ses poils; Gravure
Eng.: Scottish Griffon with its hunt clutched in its hair.
Now unknown (R276,p212).
Compare the work Beraldi mentions ‘Griffon d’Ecosse portant au cou les souris de sa chasse’ (R85IX,p143,no1-7)
NL.: Schotse Griffioen met muizen om zijn nek.

S1870-5260, Neuf gravures à l’eau-forte; même numéro: Vues de Hollande.
Now unknown (R276,p212).
Compare: 2IE-1876-135, Croquis Hollandais (2 cadres eaux fortes)
and: 2IE-1876-136, Canal en Hollande, lever de lune (eau forte).

S1872-1006, Un philosophe sans le savoir.
Now unknown (R276,p212).

S1872-1007, Filets étendus; aquarelle
Eng.: Extended nets.
Now unknown (R276,p212).
Compare: 2IE-1876-126, Filets (2 aquarelles).

S1873-942, Tentation.
Eng.: Temptation.
Now in Musée de Picardie in Amiens (R276,p212).
Maybe: 18xx, Saint Antonius Frestelser (=temptations), 143×94, A2007/12/18 (iR13)

S1874-1185, Printemps
Additional info: (Appartient à Mme J. André)
Now unknown (R276,p212).

S1874-1186, Le déluge; triptyque (voir Dessins)
Eng.: The (great) flood; triptych.
Note: the middle and top section is now lost. It is known by an etch made by Noël Masson (1854-89), 1875, Le Déluge, 37×62, RISD Providence (M152;R410,p52+46).
The left and right panel are probably in the Musée de France d’Opal sud in Berck-sur-Mer (M202;iR1;R276,p212).
I render a compilation of the two paintings and the engraving.

S1874-2317, Les fossés du château du Bailleul; aquarelle
Eng.: The ditches of the Château du Bailleul. Nl: De grachten.
Now unknown (R276,p212).

S1874-2318, Au bord de la forêt; aquarelle
Eng.: At the edge of the forest; watercolour
Now unknown (R276,p212).

S1874-2319, A Cayeux (Somme); aquarelle
Probably at the Musée des Arts et Traditions Populairs in Paris: 1873ca, Sbr, À Cayeux-sur-Mer (Somme), wc+g, 21×48, MATP Paris (R276,p212)

S1875-1345, Pêche de nuit au chien de mer.
Eng.: Night fishing with a dogfish.
Now: 1875, Pêche de nuit au chien de mer (Night fishing with a dogfish), 132×152, Nantes MBA (M16;iR23;iR1;R276,p212).

S1875-1346, Bateau boulonais
(Voir Dessins)
Now unknown (R276,p212).

S1875-2497, Le port de Santa-Lucia (Naples); aquarelle
Additional info: Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences.
Now unknown (R276,p212).
Compare the compilation I render for: 2IE-1876-125, Le quai Sancte Lucia à Naples (aquarelle).

S1875-2498, Le golfe de Naples, vu du cours Victor-Emmanuel; aquarelle
Additional info: Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences.
Eng.: The Gulf of Naples, seen from the Cours Victor-Emmanuel; watercolour.
The Corso Vittorio Emanuele is a long road along the station with the same name, north of Santa-Lucia, probably more high (iR9).
Now unknown (R276,p212).
Maybe the same as: 1IE-1874-76, Golfe de Naples, aquarelle;
To compare I render an oil painting with a similar view: 1862, La baie de Naples par temps clair, 94×128, A1997/12/05 (iR13;R2,p121;R90II,p8;iR1).
To compare I also render a watercolour of Lepic with a horizontal view on the Gulf of Naples:
1871, SDbr, Torre del Greco (The bay of Naples), aquarelle, 27×37, unknown location (R276)
Compare also: 2IE-1876-125, Le quai Sancte Lucia à Naples (aquarelle).

S1875-2499, Cabane de pêcheurs, à Torre del Greco (Italie); aquarelle
Additional info: (Voir Peinture). Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences.
Eng.: Fisherman’s hut / shed / cage.
Now unknown (R276,p212).
Maybe: 1871, A fisherman’s grotto (Naples), gouache, 27×38, A2015/07/08 (iR11;iR14;iR13;iR41;iR1;R2,p162) .
Compare: 2IE-1876-132, Les souterrains du port de Naples (aquarelle).

S1876-1297, Le quai de Bercy inondé, le 16 mars 1876.
Now unknown (R276,p212).

S1876-1298, Le calme dans la baie de Somme
Additional info: (Voir Gravure).
Now unknown (R276,p212).
To compare I render a work that was probably made a bit later: 1888ca, Baie de Somme, le matin, 89×51, A2012/03/30 (iR11;iR13;iR1;R2,p162), this work also depicts a calmness.
Compare also: 2IE-1876-107, Bateaux de la baie de Somme.

S1876-3903, Trois eaux-fortes: Paysages des bords de l’Escaut
Additional info: (Voir Peinture). Eng.: Landscapes on the banks of the Scheldt.
Now unknown (R276,p212).
Probably 3 of his 24 etchings of the River Scheldt, in which he rendered the several times of day (R85XI,p144=aR2;R88).
The Baltimore Museum of Art shows many of them (M24). See also the blog of Ann Shafer, who renders 19 prints (annshafer.com//lepic=aR18)
I render 3 of them:
1870-76ca, Rain (Views from the Banks of the Scheldt), etch + monotype, 35×74, Baltimore MA (M24/5164; no picture; aR18).
1870-76ca, Snow in the fog (Views from the Banks of the Scheldt), etch + monotype, 34×74, Baltimore MA (M24/5169)
1870-76ca, Str, Dawn (Views from the Banks of the Scheldt), etch + monotype, 35×74, Baltimore MA (M24/5168; aR18).
=1870-76ca, Sunrise (View of the banks of the Scheldt), etch, 45×80, Baltimore MA (iRx;iR1;R90II,p56;R85IX,p143,no4;M24)
Compare also: 1IE-1876-136, Canal en Hollande, lever de lune (eau forte) for which I render the next work as uncertain option:
1870-76ca, Moonrise (Views from the Banks of the Scheldt), etch + monotype, 34×74, Baltimore MA (M24/5104; no picture; aR18).
=? 1870-76ca, Vue des bords de l’Escaut; lever de lune, etch, 46×82, Baltimore MA (R90II,p56+40;R2,p162;R85IX,p143,no4;iR1;M24).
See links for the other works I could find:
1870-76ca, View from the Banks of the Scheldt, etch + monotype, 35×74, Baltimore MA (aR18)
1870-76ca, A shower (Views from the Banks of the Scheldt), etch + monotype, 35×74, Baltimore MA (M24/5170)
1870-76ca, After the storm (Views from the Banks of the Scheldt), etch + monotype, 35×74, Baltimore MA (aR18)
1870-76ca, Night (Views from the Banks of the Scheldt), etch + monotype, 35×74, Baltimore MA (aR18)
1870-76ca, Moonlight (Views from the Banks of the Scheldt), etch + monotype, 34×74, Baltimore MA (M24/5103)
1870-76ca, The Moon through the willows (Views from the Banks of the Scheldt), etch + monotype, 34×74, Baltimore MA (M24/5166)
1870-76ca, Willows and poplars (Views from the Banks of the Scheldt), etch + monotype, 35×74, Baltimore MA (M24/5105)
1870-76ca, Willows (Views from the Banks of the Scheldt), etch + monotype, 35×74, Baltimore MA (M24/5165; no picture; aR18).
1870-76ca, Trunk of a chestnut tree (snow) (Views from the Banks of the Scheldt), etch + monotype, 35×74, Baltimore MA (aR18;M24)
1870-76ca, Snow (Views from the Banks of the Scheldt), etch + monotype, 34×74, Baltimore MA (M24/5108; no picture; aR18).
1870-76ca, Snow (Views from the Banks of the Scheldt), etch + monotype, 34×74, Baltimore MA (M24/4843); no picture.
1870-76ca, The mill fire (Views from the Banks of the Scheldt), etch + monotype, 34×74, Baltimore MA (M24/5107)

S1877-1329, Bateau cassé
Lepic received a ‘médaille de 3e classe’ (iR4).
According to Zimmer now unknown (R276,p213). He also renders a photograph of this painting with a clear title ‘bateau cassé’, but he (wrongly) links it to no.1330 ‘Tempête’ (R276,p116).
Compare a later copy of this painting: 1879+, Sbr, Bateau cassé, no 1 bis, 38x47cm, MdF Berck (iRx;iR10;aR7;M202;R2,p162;iR1;R276,p117); it has only minor differences with the photograph.
Compare also another smashed boat: 1877ca, The Smashed Boat, 17×25, MdF Berck (aR4=M202;iR6;iR35;iR4;iR1).
Compare a similar theme: 2IE-1876-108, Un brisant (étude).

S1877-1330, Tempête.
Eng.: Stormy weather.
Now in Musée de Picardie in Amiens (R276,p213).
Compare: 1877, SDbr, Fishing boats returning to Berck, 127×246, PBA Lille (iR6;iR35;iR23;iR127;iR1;M17). Note: the work is dated, rather big and depicts stormy weather; but, this suggestion is not affirmed by my sources.
Compare also a bit later painting: 1878, SDbr, Bateau brisé après la tempête, 131×150, Galerie Ary Jan Paris (iR10; PDF)
I render a compilation of both paintings.
I also render as a very uncertain option: 18??, Sbr, Tempête sur la côte, 96×104, A2012/09/07 (iR13;iR10;iR1); this work is quite large, but not dated. It beautifully depicts a storm.

S1878-1415, Le départ; marée haute.
Now in MBA Valenciennes (R276,p213).
Compare no. 1416.

S1878-1416, Le retour; marée basse.
Additional info: (Voir Dessins).
Now: 1878ca, Le retour (Départ pour la pêche à Berck; Bateaux à marée basse à Berck), 126×217, MBA Valenciennes (iR2;iR23;iR1;R87,p239;R276,p213;M201).
Note: the different titles. Compare also no. 1415.

S1878-3337, Un chien; pastel
Now unknown (R276,p213).
As a very uncertain suggestion I render: 18??, Scl, Jack, pastel, 75×51, A2007/06/22 (iR11;iR15;iR17;iR41;iR1).

S1878-3338, Moïse sur le Nil; … Et le voile du temple se déchira !… Le semeur d’ivraie; gouaches
Additional info: (Voir Peinture). Eng.: Moses on the Nile; … And the veil of the temple was torn!… The sower of tares / chaff / weeds.
The second work is probably: 1873?, Golgotha, the temple veil is torn, gouache, 35×22, A2016/05/04 (iR11;iR1;R276,p213).

S1879-1898, La pêche au hareng d’Ecosse par les bateaux de Berck.
Eng.: Fishing on Scottish herring by the boats of Berck.
=1878, La pêche aux harengs d’Ecosse par les barques de Berck, 129×216, MBA Reims (iR23).
Bought in 1879 by the government (iR23).

S1879-1899, La Vierge de Grosfliers, à Berck (Pas-de-Calais).
Now unknown (R276,p213).

SdAF-1880-2288, La banquise de la Loire, à Saumur; janvier 1880;
Additional info: H. 2m,30.- L. 3m,20. Eng.: The ice-pack…
Now unknown (R276,p213).

SdAF-1880-2289, Le retour;
Additional info: H. 2m,00.L. 2m,60. Le cercueil du Prince Impérial est transbordé de l’Orente à l’Enchanteresse. Portsmouth, 11 juillet 1879.
Now in a private collection (R276,p213).
Compare: Goupil, 18xx, The return (after Lepic), xx, MNCh Compiègne (iR127;iR1;M200)

SdAF-1880-5219, Marquise; pastel
Additional info: Appartient à Mme de Pont-Jest.
Now in a private collection (R276,p213).

SdAF-1880-5220, Madou; pastel
Additional info: Appartient à M. Febvre, de la Comédie-Française
Now unknown (R276,p213).

SdAF-1881-1425, Alerte; Berck, octobre 1879.
Now unknown (R276,p213).

SdAF-1881-1426, Plage de Berck; panneau décoratif
Additional info: Appartient à Mme la comtesse X***
Now unknown (R276,p213).
Note: the same title as: SdAF-1887- 1490. Compare: 2IE-1876-105, La plage de Berck.

SdAF-1882-1650, Mer calme devant Boulogne;
Additional info: Appartient à M. Millot; voir n° 1651
Now unknown (R276,p213).

SdAF-1882-1651, Effet de brouillard dans les mers du Nord;
Additional info: Appartient à M. Millot; voir n° 1650.
Now unknown (R276,p213).
Compare: 1880, Effet de brouillard, xx, MdF Berck (iRx;iR1;R2,p162;M202) . Compare: 2IE-1876-103, Effet de brouillard en mer.

SdAF-1883-1491, L’inondation de la Seine, à Chatou en 1883.
Now unknown (R276,p213).

SdAF-1883-1492, Sortie des bateaux à la marée; Berck.
Eng.: Departure of the boats at the tide; Berck.
Now unknown (R276,p213).

SdAF-1884-1505, Le “Vaisseau fantôme,” ou le “Voltigeur Hollandais“.
Eng.: The “Ghost Ship,” or the “Flying Dutchman”.
Now unknown (R276,p213).Compare: 1884, Sbl, Voilier, 98×131, private (R276,p169)

SdAF-1884-1506, Combat d’Ouessant; 1778
Additional info: Le comte du Chaffault, monté sur la Couronne et commandant l’avant-garde, triomphe du Victory et du Terrible. Son fils fut tué près de lui et lui-même grièvement blessé.
Now in a private collection (R276,p213).
Compare: 1884ca, Sbl, Combat maritime avec une frégate anglaise, 98×127, A2025/11/01 (iR11)

SdAF-1885-1559, *La rentrée du pilote.
Eng.: The return of the pilot.
Now unknown (R276,p213).

SdAF-1885-1560, *“Pare à virer !”
Eng.: “Ready to fire!”.
Now unknown (R276,p213).

SdAF-1886-1460, Bateaux normands;
Additional info: (Appartient à M. Quévremont)
Now probably in the townhall of Saint-Péray (R276,p213).

SdAF-1886-3067, Canal, près Rotterdam; aquarelle
Additional info: (Appartient à M. G. Vibert)
Now unknown (R276,p214).

SdAF-1886-3068, Barque de Boulogne; aquarelle
Now unknown (R276,p214).

SdAF-1887-1490, La plage de Berck; panneau décoratif
(Appartient à M. Paul Blanchet) ; Peinture.
Now unknown (R276,p2134.
Note: the same title as: SdAF-1881- 1426.

SdAF-1887-3166, La bouée; nord de Cayeux;
(Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences). Eng.: The buoy, north of Cayeux.
Now unknown (R276,p214).
Compare: 2IE-1876-113, La Bouée No 2, baie de Somme.

SdAF-1887-3167, Chrysanthèmes;
(Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences)
Now unknown (R276,p214).

SdAF-1888-1608, Les reines du château et du village de Cressol, à Saint-Peray (Ardèche);
(Appartient à Mme la duchesse d’Uzès)
Now unknown (R276,p214).

SdAF-1888-3285, Cayeux vu d’un bateau; aquarelle
Now unknown (R276,p214).

SdAF-1888-3286, Soleil sur la mer du Nord; aquarelle
Now unknown (R276,p214).
Compare: 2IE-1876-129, Soleil en mer

 

Vicomte Ludovic Napoléon Lepic at regional exhibitions:
Lepic sometimes joined at regional exhibitions. Sometimes his name is noted as Le Pic (iR1).
In 1875 he lived at 46, Rue de Larochefoucault, Paris. In 1883 at 25, Rue de Maubeuge, Paris.

Blois-1875-117, Le moulin de Cayeux.
Blois-1875-118, La plage de Cayeux.

Blois-1883-213, Une dune, Mer du Nord.

 

Posthumous auction sale:
1897/03/20 there was a posthumous auction sale by Georges Duchesne at Hôtel Drouot of paintings and objects from the studio of ‘Le Pic’: Tableaux anciens et modernes … provenant en partic de l’atelier de Le Pic (coming in particular from the workshop of LE PIC). Lepic himself died 1889, so maybe this was after the death of his wife.
It contained 36 paintings of old masters (no.1-36) and 73 modern paintings (no. 37-109), 15 engravings (no.110-124) and 23 other objects (no.125-147). (iR24 = https://rkd.nl/library/233972)

Works of other partakers of the ‘impressionist’ expositions:
1 work of Boudin:
HD1897/03/20-44, Boudin: Marine
4 works of Degas:
50, Degas: Miss Murray (d’après Thoas Lawrence)
51, Buste de femme
52, La Repasseuse
53, Delphy, bords de rivière; soleil couchant.
2 works of De Nittis and 2 others attributed to him (no.85+86):
83, Portrait de femme; pastel.
84, La Place de la Concorde.
85, Tête de jeune fille.
86, Portrait d’home, pastel.

Works of Lepic:
HD1897/03/20-71, Combat naval.
HD1897/03/20-72, Le Chaland; environs d’Andrésy.
HD1897/03/20-73, Les Jouets de ma fille.
HD1897/03/20-74, Bords de la Seine aux environs d’Andrésy; deux pendants.
HD1897/03/20-75, Vues de l’Alhambra et autres; dix projects de décors.
HD1897/03/20-76, Plage, aquarelle.
HD1897/03/20-77, Apprêts pour la pêche; aquarelle.
HD1897/03/20-78, Vues d’Italie; deux aquarelles.
HD1897/03/20-79, Saint-Malo; deux aquarelles
HD1897/03/20-80, Deux albums d’aquarelles et croquis.
HD1897/03/20-81, Plusieurs lots de croquis.
HD1897/03/20-119, Très nombreuse suite d’eaux-fortes avant la lettre et en divers état (sera divisé)

 

Recommanded citation: “Impressionism: Ludovic-Napoléon Lepic, an account of his exhibited art-works. Last modified 2026/03/27.  https://www.impressionism.nl/lepic-account/”

 

Note: additional info will be added.